Wednesday, March 13, 2024

Large Ensemble 2024 (Part 2): Melody Stands Out + Monk Inspires

Three more large ensemble recordings, each with its own outstanding qualities. 

Several years ago, I interviewed trombonist and composer Marshall Gilkes upon the release of his 2022 album, "Cyclic Matters".  In the midst of the discussion, he mentioned he had back in Germany to record a new  album with the WDR Big Band, the 17-piece ensemble in Cologne Germany.  He had spent four years (2010-13) in the trombone section –– the month after his stint was up, the Band invited him back for a "farewell concert" which resulted in the 2015 album, "Köln", a 10-song program that soared from the opening moment. The album won a GRAMMY nomination and led to the 2018 follow-up, "Always Forward".  Gilkes told me that he writes to the strength of each member of the band and that they love how his arrangements make them sound.  Upon receiving the invitation to create a third program for the WDR, Gilkes thought about all that had happened in the world since his 2017 trip that produced the second album.  The Pandemic, wars, democracies under siege, yet music and the arts still manages to thrive, to grow, to bring people together, to bend into new shapes for people to explore.

The results of Gilkes' thinking and writing can be heard on "LifeSongs" (WDR/ Alternate Side Records).  To these ears, it's the high point of the composer/ arranger's work with the Big Band.  The music is rich with melody and possibilities, the section arrangements often sing brightly, and the soloists are on the top of their game.  This music has soul, has heart, and imagination at its center.  The opening "Fresh Start" is just that!  A rollicking, Gospel-like melody and arrangement, with the leader's trombone in front but the real joy can be found in the interaction of soloists and the various sections.  "Back in the Groove" follows, a healthy portion of latge 60s-early 70s soul music in the melody and response over a thunderous rhythm section. Alto saxophonist Jonas Hörlen builds his solo off the main melody, riding the powerful piano of Billy Test, the solid bass of John Goldsby, and the slamming drums of Hans Dekker.  The proceedings cool down for the piano solo but Test moves quickly into overdrive with a joyous romp with the brass and reeds "testifying" right alongside him.

Listen to "Cora's Tune" below.  Pay attention to how Gilkes structures the melody, creates his fine solo, and how he utilizes the WDR sections to add excitement, and then creates a lovely trombone chorale in the midst of the piece.  Yet the music does not sit still, it changes, evolves, swings, and soars to its conclusion. Several tracks later, vocalist Sabeth Pérez joins the Band for a sweet take on the traditional lullaby "All The Pretty Horses". One can hear the influence of Maria Schneider (Gilkes is a long-time member of the MSO) in the arrangement. 

Delights abound in this program. "Middle Ground" follows, opening with a Brass chorale b efore picking up steam. The influences of Blues and Gospel can be hear in the melody lines as well as the section writing.  In the middle of the piece, the trombones take off into an exciting Latin rhythm, the sound splayting across the spectrum. The band kicks in and the 'bones trade 4s until the entire ensemble dances back into the melody, fading intoi the background for a return to Brass chorale. Then, it's into "San Filtro",  a multi-sectioned piece that, at times, reminds this listener of Chick Corea's "My Spanish Heart".  The leader's trombone is front-and-center throughout whether playing the main melody, soloing, or leading yet another splendid brass chorale.  You'll want to shout "hurrah" at the bravura closing section.

And there's more. I would be remiss not to mention the lovely version of Rodgers & Hammerstein's "This Nearly Was Mine" (from "South Pacific").  The song serves as a vehicle for an exquisite flugelhorn solo from Andy Haderer.  Those of you who buy the digital version (link below) get two more tracks, an extra 14 minutes of music (including the stomping "Taconic Turns").  No matter which version you purchase, "LifeSongs" is a soul satisfying, emotionally rich, and musically delightful program.  Marshall Gilkes truly shines in this setting as do his friends in the WDR Big Band –– if you dig Big Band, jump on this!

For more information, go to www.marshallgilkes.com.  To hear more and to purchase the album, go to  https://marshallgilkes.bandcamp.com/album/lifesongs.

Personnel:

Marshall Gilkes composer, arranger, trombone, conductor

Johan Hörlén • alto saxophone, flute, clarinet Pascal Bartoszak • alto saxophone, flute, clarinet,
Ben Fitzpatrick • tenor saxophone, clarinet, Paul Heller • tenor saxophone, clarinet
Jens Neufang • baritone saxophone, bass clarinet
Andy Haderer • trumpet, piccolo trumpet, flugelhorn, Wim Both • trumpet, flugelhorn
Rob Bruynen • trumpet, flugelhorn, Ruud Breuls • trumpet, flugelhorn
Ludwig Nuss • trombone, Raphael Klemm • trombone, Peter Hedrich • trombone
Andy Hunter • trombone (one track)
Mattis Cederberg • bass trombone, tuba
John Goldsby • bass 
Billy Test • piano 
Hans Dekker • drums
Sabeth Pérez • vocals on "All the Pretty Horses"


Give a listen to "Cora's Tune":


As a special treat, here's the video for "Sugar Rush", the final track on the CD:




On his first two Big Band recordings (2019's "Assembly of Shadows" and 2021's "Architecture of Storms"), saxophonist, composer, and arranger Remy Le Boeuf showed a pleasing knack for well-defined melodies, smart arrangements, and for creating space for soloists to interact with the music and the musicians.  There were moments, especially on the second release, that the music had a "pop music" sensibility, with melodies that cried out for lyrics (one song did have a guest vocalist) –– nothing seemed "dumbed down" for mass consumption but the songs sounded like they could have fit easily into contemporary radio airplay.

On his third Big Band effort (the ensemble has taken on the name of its first album: Assembly of Shadows), "Heartland Radio" (SoundSpore Records), the title track opens the album with a decided backbeat and a hummable melody (ah, but the glorious section harmonies!).  Listen below to "Stop & Go" –– the rhythm section plays beats reminiscent of the work by the British band New Order but the main melody and chorus would not sound out of place on a Gamble & Huff production of the 1970s.  The music also sounds great pouring out of car speakers when one is driving down the road (this writer's prerogative), especially guest guitarist Max Light's solo.  "New Beginnings" bears traces of the work of Burt Bacharach; one can his influence on the handsome melody and arrangements, in the tempo changes, and in the great trumpet solo (uncredited).  

Vocalist Julia Easterlin joins the group for "Barbara" (lyrics by poet Sara Pirkle). The Bacharach influence can be felt a bit here as well but Le Boeuf's arrangement is all his own (his section writing is splendid).  The leader also created an arrangement for "Little Song"; composed by trumpeter Nadje Noordhuis for her Newvelle Records album "Full Circle", the melody is a rich blend of sadness and longing that is emphasized here by the sweeping brass lines and gueat Danielle Wertz's wordless vocal.  The leader's alto saxophine is out in front through the middle of the track, his solo soaring like a bird freed in the wild.  

"Heartland Radio" (so named for the leader's journey across the United States to Denver, Colorado, where he is now on the music faculty of the University of Denver) comes to a close with "Walking on Water". There's a gospel feel to the both the melody and arrangements as well as a powerful saxophone solo with the gentle alto sax coda bringing the listener to the final long chord. Remy LeBoeuf said that the music on the album was inspired by the sounds he heard driving to his destination. These excellent sounds attest to the fact that the composer/ arranger had a fertile and thriving imagination. 

For more information, go to www.remyleboeuf.com.  To purchase the album, go to  https://remyleboeuf.bandcamp.com/album/heartland-radio.

Personnel:

Gregory Robbins – conductor

Vocals
Julia Easterlin (vocal on one track)
Danielle Wertz (vocal on one track)

Remy Le Boeuf / Alto Sax, Flute, Alto Flute
Alejandro Aviles / Flute, Alto Sax
Lucas Pino / Tenor Sax, Clarinet
John Lowery / Tenor Sax, Clarinet
Carl Maraghi / Bari Sax, Bass Clarinet

Trumpets
Tony Kadleck, Tony Glausi, Philip Dizack,  Mike Rodriguez

Trombones
Mike Fahie, Alan Ferber, Javier Nero
Jennifer Wharton (bass trombone)

Guitar
Alex Goodman
Max Light (one track)

Piano
Martha Kato

Bass
Dan Montgomery


Drums
Peter Kronreif

Keyboards
Pascal Le Boeuf (first two tracks)

Get into the groove with "Stop & Go":



Pianist, composer, arranger, and now conductor Frank Carlberg has spent the better part of his life engrossed in and studying the music and recordings of Thelonious Monk.  Many of his recordings are inspired by and feature music of the composer –– in 2019, Carlberg put together his Large Ensemble to record and issue "Monk Dreams, Hallucinations and Nightmares" on his Red Piano Records label. I loved that album and love it even more now. Carlberg has the knack of making Monk's music sound fresh and contemporary while still shoeing respect for the composer.

Now we have "Elegy for Thelonious" (Sunnyside Records). I have an image of Carlberg in his room slicing up pieces of Monk tunes, pinning particular phrases to the wall, and creating original arrangements around.  In the recording studio, he places the fragments, his arrangements, and some sections he composed in front of the musicians and says "Let's play!"  And they do.  That's not to say that recording is unfocused or cacophonous. Not at all.  What it is is fun, creative adventures taking on the guise of fun.  What a band Carlberg has in front of him.  Besides the impressive arrangements and re-arrangements, the secret weapon in this music is drummer Michael Sarin. Throughout the seven-song program, he's the linchpin as well as the glue that keeps the Ensemble from descending into chaos.  Listen below to "Spooky Rift We Pat", an engaging mashup of "Tea For Two" and Monk's "Skippy". Christine Correa leads off with a deconstruction of a verse from the standard; then the ensemble enters and we're off to the races. After a playful solo from tenor saxophonist Adam Kolker and a lively diversion with trumpeter David Adewumi, the whole ensemble returns and different voices rise out of the din. All the while, Sarin is driving the bus, making sure no one loses their way.

The fun continues on "Out of Steam", a funky tune replete with synth washes from Leo Genovese and vocals from the leader's daughter Priya Carlberg.  The different figures the leader has the reeds and brass play behind the powerful alto sax solo from Nathan Reising stand out because they are often brash and bratty.  

The centerpiece of the recording is the title track. The music is not so solemn as there's muted trumpet squawks and clarinet trills behind Ms. Correa's recitation of poet Yusef Komunyakaa's "Elegy for Thelonious". A few moments later, the two vocalists sing the chorus from the hymn "Abide with Me" (a piece – composed by 19th Century English church organist William H. Monk, no relation, which the American Mr. Monk recorded on 1957's "Monk's Music").  Along the way, there are fine solos from trombonist Brian Drye, cornettist Kirk Knuffke, and Jeremy Udden on lyricon.  The music gets cluttered by the end of the vocals but the brass exclamations and solid drumming keeps the music on keel.  

Every one of the seven tracks on "Elegy for Thelonious" is worth writing about – for instance, Hery Paz's solo on "Brake Tune" is stunning as is trumpeter John Carlson's smoking take on "Wrinkle on Trinkle". The Frank Carlberg Ensemble is filled with great musicians, great soloists, and Carlberg gives them plenty of room to shine while his section writing is exemplary throughout.  I mentioned drummer Michael Sarin earlier but his rhythm section partner, bassist Kim Cass, deserves similar kudos. What a treat!!

For more information, go to www.macdowell.org/artists/frank-carlberg. To hear more and to purchase the album, go to https://sunnysiderecords.bandcamp.com/album/elegy-for-thelonious.

Personnel:

Frank Carlberg - conductor, composer
Sam Hoyt, John Carlson, David Adewumi - trumpet
Kirk Knuffke – cornet
Brian Drye, Chris Washburne, Tyler Bonilla, Max Seigel - trombone
Nathan Reising, Jeremy Udden, Adam Tolker, Hery Paz, Andrew Hadro - woodwinds
Leo Genovese - piano, keyboards
Kim Cass - bass
Michael Sarin - drums
Christine Correa, Priya Carlberg - voice


Take a listen to "Spooky Rift We Pat":

Sunday, March 3, 2024

Three for All, All for Three (Piano Trios)

 There are weeks when all I want is music that challenges me, confronts my belief systems, and pushes at my expectations. Then, there are times I want my music that comforts, wraps its warm sound around me, has rhythms that make my feet move, and makes me laugh. Here are two trio albums that fit easily into the latter description with a little bit of the former.

Yes! Trio –– Ali Jackson (drums), Omer Avital (bass), and Aaron Goldberg (drums) –– has been a working band for nearly two decades. Yet, each member is so busy with his own group or as sidemen that they rarely get together. When they do, creative sparks fly!  Their debut album, released as "Yes" under all three names on Sunnyside Records in 2012, lays out their modus operandi. The songs are often blues-based, usually quite melodic as well as rhythmical, and their repertoire blends originals and standards.  The sound quality on the recordings is such that no one instrument is mixed above any other and the listener feels as if he or she is the middle of the band.

In 2019, the ensemble, now known as Yes! Trio, move to the French Jazz & People label to release "Groove du Jour", a delightful collection that often made one feel like dancing.  Just in time for the change of seasons, here's the band's third album "Spring Sings" (Jazz & People) –– if at first and second, the formula works really well, why change it?  Drummer Jackson composed six of the 10 songs on the program while bassist Avital added two plus plus there are two engaging takes on two recognizable standards.  "The Best is Yet to Come" (from Carolyn Leigh and Cy Coleman) swings with glee propelled by the thumping bass and dancing drums.  Goldberg's solo is as irrepressible as Jackson's "groove".  Irving Berlin's "How Deep is the Ocean" has a Caribbean "St. Thomas" feel in the playful drumming. Goldberg and Avital engage in a pleasing give-and-take before the the drummer heads off on a 4/4 rhythm with the bass. The bass solo is so deliciously melodic using the melody to jump into various adventures.  There's also an engaging "marching band" solo from the drummer before the song comes to its eventul conclusion.

The title track (composed by Jackson) opens the album. Quietly, the piece moves forward on strummed bass chords and martial drums while the pianist plays the sweet melody. Goldberg then joins with Avital's bowed bass to present a second melody; the powerful bass solo alludes to Igor Stravinky's "The Rite of Spring".  Listen below to Avital's "Sheikh Ali" (a play on words celebrating his rhythm section partner) to hear how well this Trio support and respond, how their conversation is so musical. The drummer returns the compliment on his "Omeration" –– all three play the theme before the pianist dances away on a lively solo.  Of course, Avital gets the spotlight as well. He is so articulate in the bass's higher register not unlike a cellist.  Then, the group "trades 4s" so that Jasckson gets to "play" as well. The program closes with Jackson's "Fivin" with its generous New Orleans rhythms (such funky tambourine), dancing melody lines, and, for a special treat for close listeners, the pianist's nod to John Coltrane's "A Love Supreme" 40 second before the song ends.

I am mightily tempted to play Yes! Trio's three albums back-to-back; after all, one can truly not get enough of this band's splendid interplay, charming sense of playfulness, and its embrace of melody and rhythm.  Ali Jackson, Aaron Goldberg, and Omer Avital are good friends, great musicians, and the music they make can charm a listener in so many ways.  Put on this album and listen deeply –– I dare you to sit still and not crack a smile.  

To find out more and to purchase the album, go to https://jazzandpeople.bandcamp.com/album/yes-trio-spring-sings

Take a listen to "Sheikh Ali":



The trio of Rodrigo Recabarren (drums), Pablo Menares (bass), and Yago Yazquez (piano) consists of two natives of Chile and one from Galicia, Spain.  The music on their second album "Familia" (Greenleaf Music–– the trio's 2017 album "Desde la Lluvia" was recorded and initially released in Chile)
reflects not only the musicians' roots but also their immersion into Black American music.  The nine tracks, all originals, often uses rhythms that "dance" rather than "swing" with melodies that suggest folk tunes.  The music is conversational and, on occasion, fiery but articulate and emotionally rich.


The program opens with "Santiago"; composed by the drummer, the music salutes his (and Menares's hometown) in melody and especially in rhythm. Listen below to how Vazquez caresses the melody supported by the warm bass sounds and the composer's martial drums (not unlike Brazilian "parade" drumming). With the rhythm section churning below, the piano solo is richly melodic. Vazguez's lovely "Terra" follows. The interaction between piano and bass is often stunning. Menares has a melodic streak a mile wide –– it shows in his works with vocalists Claudia Acuna and Camila Meza as well as with saxophonist Melissa Aldana. The bassist contributes "Viaje"; the opening melody suggests Milton Nascimento's "Ponta de Areia" plus there's a nod to that song's melody early in the piano solo.  Recabarren's haunting ballad "Lazo" finds him on brushes at the onset as Vazquez explores the melody. The drummer switches to sticks during the opening piano solo and back to brushes for the final verse.  

Vazquez's "Anninovo" moves seductively atop the rippling bass lines and the dancing drums.  The piano solo not only dances but also rings with short melodic phrases. Menares solos as well; he, too, is a wealth of melody but also reflects the rhythmic elements of the pianist's original melody.  The pianist's "Minho" is a ballad with a touch of Cole Porter in the melody and chords. His solo reflects a feeling of melancholy as well as a nod to Duke Ellington's "(In My) Solitude". 

"Familia" closes with the bassist's "Después De Todo".  The slower tempo allows for the listener to appreciate the handsome melody.  The piano solo ripples forward, a blend of long single-note runs and short chordal inserts. The music slows down with 95 seconds remaining for a coda that blends blues, longing, and a touch of sadness.  Sweet yet also haunting.

Rodrigo Recabarren, Pablo Menares, and Yago Vazquez have taken their myriad influences and experiences creating a program that not only reminds us how international Black American music is but also how that music benefits from the addition of elements from other cultures.  Isn't that how the music first came to be, a fusion of African, European, and South American elements.  The trio certainly sounds like a "Familia" and their sophomore album is quite the positive listening experience.. 

For more information, go to https://greenleafmusic.com/out-now-familia-by-rodrigo-recabarren-pablo-menares-yago-vazquez/.  To hear more and to purchase the album, go to  https://recabarrenmenaresvazquez.bandcamp.com/album/familia (where you will also see a link to their debut release). 

Hear the opening track "Santiago":

Monday, February 19, 2024

Large Ensembles 2024 (Pt 1)

There are a slew of new Big Band albums coming in the next few months, a prospect that thrills me greatly –– here are two of the bests. 

Saxophonist, composer, and arranger Jeremy Rose, a native of Sydney, Australia, is creating quite a sound down under.  He leads or co-leads numerous groups but first came to critical notice as a member of The Vampires, a quartet he started in 2005 and that has released seven albums to date. Rose also leads a Quartet, a cooperative trio, Vazesh, that plays Persian-influenced music, another cooperative, Visions of Nar, that has Indian influences, Project Infinity, a fusion-music quartet, The Compass Quartet (four saxophones), has been a member of The Strides, a Reggae band, plus has composed for string quartets and chamber ensembles.  Many of the recordings are released on the saxophonist's Earshift Music label.   

In 2016, Rose formed the 17-member Earshift Orchestra. Its debut release, 2020's "Iron in the Blood", was based on Robert Hughes' "The Fatal Shore", a book that explored Australia's colonial history. The Orchestra was pared down to eight members for 2022's "Disruption! The Voice of Drums", a splendid project that posited drums as a force for change and healing.  Now, the composer turns his attention to "misinformation", "alternate facts", and the proliferation of "discordant truths", a sad fact about the world in the 21st Century. "Discordia" finds the EO back to 17-members plus the leader (soprano sax, bass clarinet) working nine Rose originals. Pushing and prodding the ensemble is the fine young Korean-Australian drummer Chloe Kim. In fact, the first sounds one hears in the program's opening minute is Ms. Kim's powerful rhythm setting the pace for "Vera Discordia (Part 1)"–– Watch and listen below to the thundering drums blending with the languid brass and reeds as they all combine to raise the temperature. 

As one settles in to the album, the composer's intentions become clearer.  Even as certain moments promise tranquility (listen to the piano solo on "Vera Discordia Pt. 2)"), the reeds and brass bark back or during the trumpet solo that follows, guitarist Hilary Geddes is chattering underneath.  The interactions are clear throughout even on the "freer" moments of "Floating Just Beyond Reach" or on the "pop music" sounds of "Bring Back The Nineties".  The slow ballad "Unverified Persona" features a powerful bass clarinet solo from Rose and his soprano spotlight on "Just For Laughs" displays the influence of Wayne Shorter.  The program closes with the very funky "Echo Chamber", a piece that shines the spotlight on the rhythm section with a delightful turn from guitarist Geddes, the electric piano work of Novak Manojlovic, the thumping electric bass of Jacques Emery, and Ms. Kim's "dancing" drums.  There's also a fine give-and-take from tenor saxophone and trombone plus a stunning buildup that leads to the final fade.  

It's a shame that the liner notes don't credit the reed and brass soloists but other than that, "Discordia" is a commanding work.  This is music that feels "alive", even in the studio, with an original approach to the "traditional" Big Band sound.  Listen closely; you might hear tinges of the Thad Jones-Mel Lewis Orchestra and the work of Bob Brookmeyer and Jim McNeely.  No fake news here –– Jeremy Rose & the Earshift Orchestra is a force to be reckoned with. 

For more information, go to www.jeremyrose.com.au/.  To purchase this album anc check out more of Mr. Rose's fine discography, go to https://jeremyrose.bandcamp.com/album/discordia.  Release date is Friday, March 1, 2024.  

Personnel:

TESSIE OVERMEYER, alto sax, HINANO FUJISAKI, alto sax, MICHAEL AVGENICOS, tenor sax, LACHLAN HAMILTON, tenor sax, NICK BOWD, baritone sax

JAMES POWERS, THOMAS AVGENICOS, SIMON FERENCI, ELLEN KIRKWOOD, trumpets

JAMES MACAULAY, JACOB PARKS, CAILEY MEI SOON, NICK BARNARD, trombones

HILARY GEDDES, guitar,
NOVAK MANOJLOVIC, keyboard, 
JACQUES EMERY, bass, 
CHLOE KIM, drums

JEREMY ROSE, conductor, soprano saxophone (track 6) and bass clarinet (track 3 and 8)

Watch the Band on "Vera Discordia (Pt 1)":





I first heard pianist, composer, arranger, and bandleader Neal Kirkwood in the 1990s on a series of releases (2 quartet, one octet) for the now-defunct Timescraper Records. Since moving to New York City from California in the early 1990s, he's worked with drummer Bobby Previte, bassist Lindsay Horner, the late saxophonist Pony Poindexter (1926-1988), and also accompanying vocalists Chris Connor, Abbey Lincoln, and Bobby McFerrin. Besides his multiple teaching gigs, Mr. Kirkwood also leads a number of various sized ensembles but currently his focus is on his 17-member Big Band.


The NKBB's debut recording is dubbed "Night City" (Brooklyn Jazz Underground Records) –– if you look at the personnel list below, you should recognize many of the names. While the 12-song program does not have an over-arching theme, the music may remind some of walking through the "club district" of a big city and hearing all types of music spilling out into the street.  There's the playful nod to Fletcher Henderson and early Duke Ellington on "Paddy Harmon's Dreamland Ballroom", the handsome danceable melody dropping into a ballad for evocative solos from David Smith (trumpet) and Dan Block (clarinet). Bassist Jennifer Vincent's walking bass line leads the band into "Jim Knew"; listen below to all the textures the arranger supplies to the ensemble, from Diana Herold's vibraphone fills to the delightful drum work from Rob Garcia (a stalwart throughout) to the deep trombone lines to the frolicking solos from Andy Gravish (trumpet) and Bruce Williamson (alto saxophone).  

The title of the album comes from the handsome cover painting, the work of California-based artist Maurice Lapp (1925-2014).  The title track features trombonists Ed Neumeister and James Rogers (bass 'bone) as they travel through the urban night. In some ways, the music is reminiscent of the "Circe" chapter of James Joyce's "Ulysses" as the characters Stephen Daedalus and Leopold Bloom wander through "Nighttown".  The music is certainly not as thick as Joyce's language and the characters here are friends but the piece is quite evocative. Trombonist Art Baron is the featured soloist on the following track, "Alaskan Serenade", a work that the leader composed for Duke Ellington Orchestra trombonist Britt Woodman. The sounds are redolent of Mr. Ellington's music from the 1930s and 40s.  Ms. Herold overdubs marimba and vibraphone to introduce "Monolithic Attitude", the slowly unwinding melody giving way to a fast-paced interaction between the brass and reeds with the rhythm section.  Several melodies are introduced along the way before soprano saxophonist Matt Hong is off to the races with a delightful solo.  The different background voices adds into the background are great fun as well. Soon, various players to weave their solo lines around each other before the leader steps out for a raucous solo.

The program closes with "The Light of Birds", perhaps a tribute to the many species that sing through the year in Central Park (the song title is the last line of the poem "Birds, at Random" by Jacques Prévert –– read it here). The flute playing of Matt Hong and Adam Kolker stands out as does the "bird-song" arrangement of the song's opening and closing moments plus there is a fine piano solo from Mr. Kirkwood. 

There is an abundance for those listeners who choose to dive into the sounds of "Night City".  Composer and arranger Neal Kirkwood has been working on these songs and arrangements for many years but the recorded results sound fresh and alive.  The seductive arrangements, the intelligent melodies, the excellent solo work, all add up to a wonder-filled listening experience.  Dig in!

For more information, go to www.bjurecords.com/neal-kirkwood.  You can purchase the album there! Release date is 2/23/24.


Personnel:

Saxes and Woodwinds:
Matt Hong
Bruce Williamson
Dan Block
Adam Kolker
Patience Higgins

Trumpets:
Andy Gravish
Ron Horton
David Smith
James Zollar

Trombones:
Art Baron
Curtis Fowlkes
Ed Neumeister
James Rogers

Rhythm Section:
Neal Kirkwood, piano
Rob Garcia, drums
Jennifer Vincent, bass
Diana Herold, vibraphone

Hear the NK Big Band play "Jim Knew":




Friday, February 2, 2024

Piano Stories

 Here are two very different albums from pianists yet they share the need to tell stories through music. Most if not all of the stories are personal but, then again, for some of the us, the finest music is the mlost personal.

Elan Mehler may be best-known for his groundbreaking work with Newvelle Records as the creative head and co-producer. Mehler is also a fine pianist and has recorded 10 albums as a leader or co-leader, some released on Newvelle, others on Challenge Records, and Brownswood Records.  His newest release, "Trouble in Mind" (Sunnyside Records), is a solo recording made a month before the COVID-19 panic closed down the world in March 2020.  There's quite a story behind the album's existence (which you can read on the Bandcamp page linked below) but you should be able to tell from the first three tracks that the music was created in New Orleans. The rhythms that either permeate or are suggested on "In A Sentimental Way", "Esplanade Blues" (named for the recording studio), and "Alice's Wonderland" should lead your mind back to the work of Ferdinand "Jelly Roll" Morton or recordings by Dr. John and Allen Toussaint.  Listen below to the Duke Ellington song and you can't help but hear in the pianist's left hand the sound of the Crescent City.

The 12-song program consists of four originals, three pieces by Duke Ellington, and one each from Richard Jones (the title track), Bill Frisell, Johnny Green & Edward Heyman, Richard Rodgers & Lorenz Hart, and Charles Mingus ("Alice's Wonderland", first recorded by its composer in 1959).  The album has the sound and feel of a light-night/early morning set at a piano bar; the only thing is the audience reaction and clinking of glasses.  Much of this music is based in the blues and by design it's a melancholy program. Still there are moments where the joy of music overtakes the more wistful sounds; on the title track, Mehler pushes the "trouble" out. The original "Esplanade Blues" is a sly dance while another Mehler, "There at the Heart" is suffused with love.

"Trouble in Mind" has graced my CD player for several months and I never tire of sweet rhythms, rich melodies, and fine improvisations that Elan Mehler has created 53-minute program. Sit yourself down, let the music play, and enjoy.  

Here's the album opener, "n a Sentimental Mood":


Pianist and composer Lawrence Fields may be best-known for his work with saxophonist Joe Lovano in his Quartet or with Sound Prints, the Wayne Shorter-inspired Quintet co-led by Mr. Lovano and trumpeter Dave Douglas.  The St. Louis native has also worked and recorded with trumpeter Christian Scott, drummers Terri Lyne Carrington and Jeff "Tain" Watts, and trumpeter Nicolas Payton (among many others).  One listen to Fields' debut album "To The Surface" (also the debut for the Wesseling, Germany-based Rhythm 'N' Flow Records) and you can hear why he's a great addition to any ensemble. He plays with wit, joy, power, plus he's quite melodic and quite percussive. There are a number of moments when his music brings the sound and feel of the late McCoy Tyner to mind.  Listen to the title track below, especially how the excellent rhythm section of drummer Corey Fonville (Nicolas Payton, Butcher Brown) and bassist Yasushi Nakamura (Joe Lovano, Cecile McLorin-Salvant) follow the pianist's every move and mood shift. 

It can be so much fun to hear a trio explore the ins-and-outs of material. The program opener, "Parachute" (all but one of the eight tracks are Fields' originals), take its to open up but when it does, the music has such great urgency.  The following "New Season Blues" includes a stunning unaccompanied piano solo in the middle of a rollicking performance.  I love the little nod to "When You Wish Upon a Star" in the opening and closing piano riff.  Later in the hour-long program, the trio creates a lovely ballad setting for Jules Styne/ Sammy Cahn classic "I Fall In Love Too Easily"; Nakamura's sweetly melodic bass solo opens the door to a handsome piano spot that displays Fields' generous melodicism.  

Photo: Sofia Hussein
The album closes with the hard-swinging "The Lookout"––all three musicians shine brightly throughout with creative takes on the rhythm and melody.  This is "can't sit still" creative music at its best, the powerful drums and thundering bass clearing a path for the pianist's flying fingers, the blend of muscular chords and rapid-fire single note lines shining brightly.  

"To The Surface" shines from the opening note to the closing seconds. Lawrence Fields proves with his musicianship and mature compositions that he is a fresh voice on the music scene.  With the assistance of the first-class rhythm section work of Corey Fonville and Yasushi Namamura, this recording should open many eyes and ears.  

For more information, go to www.lawrencefields.com/. To hear more and to purchase the album, go to  https://lawrencefields.bandcamp.com/album/to-the-surface.

Here's the title track:

Friday, January 26, 2024

Confluence of the Basses

 Here we have three relatively new releases from three fine bassists and songwriters. This is powerful music that jumps out of the speakers and pulls the listener in.

"Ultraviolet" (Contagious Music) is the third album by the quartet of Billy Mohler (bass, compositions), Chris Speed (tenor sax, clarinet), Shane Endsley (trumpet), and Nate Wood (drums).  Like the previous two, the music is built upon the hardy interplay of bass and drums while the sax and trumpet often weave melodies around each other.  While this ensemble's shape is based on the classic Ornette Coleman lineup on the Atlantic Records he made with Don Cherry, Charlie Haden, and either Billy Higgins or Ed Blackwell, the short opening track "Matador" leads one to believe that the real influence in the music is Dave Holland's 1973 classic ECM recording "Conference of the Birds" (with Sam Rivers, Anthony Braxton, and Barry Altshul). You can hear it in the interactions on tracks such as "The Wait" and "Aberdeen" as well as in the short, free-form, "Disorder II" and "I".  Only one track exceeds five minutes and that's the closing "Reconstruction" (7:57) –– after an excellent bass intro, the well-designed melody opens to strong solos from Speed and Endsley. Even though Wood does not solo, his drums are upfront in the mix and you hear how he listens to and prods the soloists.

Photo: Jenny Rolapp
"Ultraviolet" stands out for numerous reasons (compositions, musicianship, great sound quality) but especially because the music sounds so alive.  Released in October 2023, it's one of the better releases of that year or any year!

For more information, go to www.billymohler.com. To hear more of the bassist's fine music and to purchase the albums, go to https://billymohler.bandcamp.com/album/ultraviolet.

Here's the title track:



Bassist Ethan Philion released his second album "Gnosis" (Sunnyside Records) in October of 2023, just 13 months after his powerful debut "Meditations on Mingus". The earlier album featured a wonderful 10-person ensemble playing the bassist's rearrangements of eight classic Charles Mingus compositions. The new album features three stalwarts of the Chicago Creative Music scene including Greg Ward (alto saxophone), Dana Hall (drums), and Russ Johnson (trumpet).  The six-song program features five Philion originals and one Charles Mingus but what a track!  The quartet swings, soars, roars, and explores its way through "What Love", the older bassist's musical contraction of "What Is This Thing Called Love" and "You Don't Know What Love Is". First recorded on "Charles Mingus Presents Mingus" in 1960 with trumpeter Ted Curson, multi-reed artist Eric Dolphy, and drummer Danny Richmond, the free-wheeling performance set the tone for a number of jazz artists of the early-to-mid 60s.

If the classic Mingus Quartet is the influence for the shape and sound of Philion's ensemble, his original compositions stand out for how he writes pieces to the strength of his group, how the music music builds on tradition without sounding stuffy or imitative, and how the power in the rhythm section (Hall and Philion are a muscular duo!) gives the front line music to work with.  There are "kick butt" pieces such as the rollicking opener "The Boot" plus "Sheep Shank" and the exploratory "Comment Section".  For a much different feel, listen below to "Nostalgia".  Philion's bass opening sounds like rain falling on the windows which leads to Johnson's somber melody line.  Ward warbles in the background while Hall adds percussion sounds.  When the trumpet and sax complete the opening theme in unison, the music takes on the feel of its title.  The pure tone of the alto sax blends with high, finely-etched trumpet before Ward takes off on an excellent wide-ranging solo. The rhythm section picks on his energy and really pushes the music higher.

The title track closes the program. Starting slowly, the music agains gains power as as it struts fowards with the rhythm section feediong off the interwoven lines created by the sax and trumpet.  This is the kind of music that sounds so alive and you want to be in the room as it is being created. "Gnosis" should warm the hearts of listeners who love adventurous music, excellent soloists, and musicians who really listen and create!  With his first two albums, Ethan Philion has shown he is a musical force to be reckoned with.

To learn more and to purchase the album, go to https://sunnysiderecords.bandcamp.com/album/gnosis

Here's "Nostalgia":



For his fourth album (and third for Sunnyside Records) as a leader, bassist and composer Gui Duvignau pared his group down to a trio and decided to record live.  "Live in Red Hook" finds him in the company of pianist Jacob Sacks and drummer Nathan Ellman-Bell performing a program and nine originals plus one tune each by Ron Carter ("Eighty-One") and Baden Powell ("Deixa").  The trio deconstructs the Carter piece before diving into the recognizable melody while the lovely ballad by Powell gets the gentle touch.  The album opener "Idee Fixe" illustrates how the three musicians listen closely and interact and how comfortable they are with "opening up" the music.  Ellman-Bell really pushes Sacks' playful solo forward while the leader holds the center. Listen below to "Right? Wow!" for another example of the trio's playfulness and cat-like ability to instantly change directions.

Photo: Tatiana Kahvegian
Duvignau's composition are not only witty but also well-constructed.  "Miniature for Drums" has a gentle melody line that bass and piano keep repeating Ellman-Bell plays his cymbals and floor toms.   "One at a Time" has a Herbie Nichols-feel in the rising melody line –– the bassist is also quite melodic through the thematic sections, moving to a strong "walking" bass line while Sacks dances on piano.  The pianist also stands out on "Still Untitled" stating the melody with classical precision (with a slight sense of anarchy in the two-handed dance at times). The bass and drums happily play around through the solo, stopping, starting, bouncing, whispering, anything but playing it safe.     

The album closes with "Scriabingus" which reads like a skin ailment or what it really is, a piece influenced by two very different composers.  It gives the listener the opportunity to hear the leader create an impressive solo.  But, note how Sacks and Ellman-Bell acquit themselves in the service of the far-ranging composition.  "Live in Red Hook" was recorded over two nights in the Coffey Street Studios in Brooklyn –– if you are a fan of adventurous but not "free" music, you should dig into this new release from Guy Duvignau. It will bring a smile to your face and mind!

For more information and to purchase the album, go to https://guiduvignau.bandcamp.com/album/live-in-red-hook

Give a listen to "Right? Wow!":

Thursday, January 4, 2024

The Music That Made 2023 Special (Pt 2) – Let's Hear it for the Ladies

 My original plan was not to isolate the recordings made by women into a separate post but these albums are so good that I could not resist. 

Jo Lawry – "Acrobats" (Whirlwind Recordings) –  What a real treat is this most delightful of Trio albums.  Here, Ms. Lawry's voice is supported, pushed, prodded, cushioned by the excellent playing of bassist Linda May Han Oh and drummer Allison Miller.  The title track, composed by fellow Australian Gian Slater, perfectly describes not only the lives of musicians in the 21st Century but also the exploratory nature of this program.  The majority of the program is made of "standards" but there is absolutely nothing standard about this album.  This listener found himself exclusively listening to the album over the course of a full week.  Never too late to take the leap into this album!!

For more information, go to https://www.jolawry.net/. Check out and/ or purchase the album by going to https://jolawry-whirlwind.bandcamp.com/album/acrobats

Here's the Trio "Taking a Chance on Love":



Nicole Zuraitis – "How Love Begins" (OutsideIn Music) –  The genesis of singer, songwriter, and pianist Zuratis's fifth album as a leader was a meeting with bassist Christian McBride in 2018 who heard her playing in a New York City piano bar and said "we should do something together".  The results of the duo working out the details amidst the Pandemic slowdown are a pure delight. Ms. Zuraitis's vocal work is the most assured of her career and co-Producer McBride makes sure we also hear what a fine pianist she is.  With her husband Dan Pugach on drums, the sound is filled out by guitarist Gilad Hekselman, Maya Kronfeld on keys, and Mr. McBride's bass pushing the proceedings forward, this program is quite strong and quite listenable.


Listen to "Let Me Love You":



Magos Herrera – "Aire" (Sunnyside Records) – 2023 was the year this listener truly discovered the brilliant and adventurous Mexican-born vocalist Magos Herrera.  I had heard of her before but this year, a deeper dive was called for.  What a supple, emotional, and often stunning voice –– when she inhabits the song, you may not understand the words but, pay attention, you'll get the message.  Surrounded by her "working" trio of guitarist Vinicius Gomes, bassist Sam Minaie, and drummer Alex Kautz plus a slew of guests (including an "orchestra" conducted by Eric and Colin Jacobsen), this music sounds alive, full of possibility, aware of the sufferings of the heart but open to hope.  The 12-song program includes classic songs, originals, brilliant arrangements, and that marvelous voice.

For more information, go to www.magosherrera.com. To hear more and to purchase the album, go to https://magosherrera.bandcamp.com/album/aire.  

Here's the title track:



Edward Simon, Featuring Magos Herrera – "Femeninas" (ArtistShare) – Right around the same date "Aire" was issued came the new ArtistShare project from pianist Edward Simon.  Subtitled "Songs of Latin American Women", the program is that and more. Ms. Herrera joins Simon, bassist Reuben Rogers, drummer Adam Cruz, and percussionist Luis Quintero (plus guest Romero Lubambo playing guitar on several tracks) performing a 11-song program of works associated with Joyce Moreno (Brazil), Elizabeth (Chile), Chabuca Granda (Perú), Violetta Parra (Chile), Marta Valdés (Cuba), Rosa Passos (Brazil), and Georgina Hassan (Argentina).  The excellent arrangements, the splendid musicianship, and the wonderful vocals makes this a "project for the ages".  

For more information, go to www.edwardsimon.com/projects/femeninas

Watch Mr. Simon and Ms. Herrera perform two pieces from the "Femeninas" project:



Gretchen Parlato & Lionel Loueke – "Lean In" (Edition Records) – This is an intimate collection of songs from two fine musicians who have known each other several decades. Basically a duo album (there are several guest contributors) but the focus of the music is on the interplay of the voice and guitar. Both leaders brought music to the sessions yet the program feels and sounds organic.  Mr. Loueke's guitar work is superlative throughout as are Ms. Parlato's vocals –– it's amazing how rhythmical this music is, how percussive the guitar work can be, and how sweet the results are.  Let's hope this is just the first Editions Recording of this splendid duo.

For more information, go to  https://gretchenparlato.bandcamp.com/album/lean-in
 

Listen to the delightfully sweet "Nonvignon":


Pt. 3 will include the rest of the list but, for now, there's much to explore here.